Quality of a Copy (original) (raw)
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Journal of textile engineering & fashion technology, 2024
Having apparel similar to what others are wearing is a basic desire in the fashion world and results in copying. Copying is both easier with technology and more prevalent with the attraction of brands and logos; however, research in the fashion literature is limited in the exploration of copying. To address this gap, this study investigated the definition of copying, the integration of copying technologies into product development, and training within the industry relative to copying and counterfeiting. Ten product development personnel working in the fashion industry were interviewed using an online, structured survey technique. Findings indicate that copying is inherent in the product development process for fashion goods with important implications for education and training about copying and counterfeiting.
Design Imitation in the Fashion Industry
Annals of the International Society of Dynamic Games
The paper deals with the imitation of fashion products, an issue that attracts considerable interest in practice. Copying of fashion originals is a major concern of designers and, in particular, their financial backers. Fashion firms are having a hard time fighting imitations, but legal sanctions are not easily implemented in this industry. We study an alternative strategy that has been used by designers. Instead of fighting the imitators in the courtroom, designers fight them in the market. The designer markets her products in separate markets, typically a "high class" market in which the products are sold in exclusive stores at high prices. Customers in this market seek exclusivity and their utility diminishes when seeing an increasing number of copies around. Their perception of the brand tend to dilute which poses a serious threat to a fashion company. The second market is a "middle class" market in which there are many more buyers, and the fashion firm competes directly with the imitators in this market. This market can be used to practise price discrimination, to sell off left-over inventories, and to get a spin-off from the design. The paper models the decision problems of the fashion firm and the imitators as a two-period game in which firms make pricing decisions and decisions on when to introduce their products in the markets. In addition, the fashion firm decides how much efforts to spend to increase its brand image in the two markets.
Re-framing fashion: from original and copy to adaptation
This article discusses the interaction between original and adaptation in the fashion system; the study also analyses, at a micro level, practices of adaptation adopted by consumers when making and re-making fashionable clothes. The article shows that the distinction between original and copy is historically determined as it grew out of the romantic notion of the authentic work of art. This article suggests that, in the impossibility to determine copyright in fashion, adaptation is a better descriptor of practices that transform garments; the concept of adaptation also abolishes trite notions of fashion as pastiche or bricolage, arguing for as a way to look at the many variations and re-contextualisations of garments historically and crossculturally.
Plagiarism, Trade-Dress and the Value of Design
Ekonomika, 2002
The distinctive identity of a brand has enormous commercial importance. When a competitor copies that identity with a cheaper inferior product, it can jeopardize the heavy investment in creating and designing products. The identification of the original versus a plagiarized knockoff is a critical issue in the marketplace. However; even when the identity is clear; a remaining issue is whether consumers are willing to pay a premium price for the original product. We use conjoint analysis to investigate the identification and valuation of an original vs. a copy. The willingness to pay for the original depends on the competence or knowledge of the consumer. We suggest ways of identifying “trade dress” by distinguishing among the utilitarian, systemic or symbolic aspects of a product.
Standard vs. Upcycled Fashion Design and Production
Fashion Practice, 2016
Value streams for collected post-consumer textiles continue be analyzed within the global challenge to develop and employ commercially viable, yet ethical and sustainable strategies within the fashion industry. Upcycling is an existing strategy applicable to fashion production, with discarded materials used to design and create higher value products, keeping them in productive use for longer. A number of very small, niche upcycling enterprises have emerged in the UK. These brands have succeeded in creating stylistically relevant and commercially successful fashion styles utilizing waste textile materials. The advantages of scaling these enterprises up are not only environmental, but also economic and social, thereby creating a sustainable and innovative business model for UK led fashion production. Due to high levels of three key metrics of carbon, water and waste, UK government agency WRAP (Waste & Resources Action Programme) has identified textile products as priority materials for reuse and recycling. Upcycling enables a sustainable design option for reuse techniques to be employed for greatest economic and environmental benefit, in which used clothing and textiles are sourced for the production of newly designed fashion products. This paper identifies the key differences between standard fashion design and production processes and upcycled fashion design and production processes, in order to aid the development of large-scale fashion upcycling in the UK, and contribute to a circular economy.
Networks of Excellence. Milan: Egea
Recent research on innovation in the cultural industries has focused on aspects used in the design, creation and coordination adopted in the design of new creative products. In the chapter, we focus on the process of design by exploring the practices carried out within the textile industry in the Campania region, focusing on high-end silk tie designs. We investigate design processes associated with stylistic innovation, understood as change in the aesthetics and symbolism associated with products. Innovation in design language or meanings of products is key to sustaining the competitive advantage in creative industries such as the fashion industry. Particularly in cases where prevailing norms limit the use of new designs and current forms are highly institutionalized, creating novelty and product differentiation are ongoing challenges. Using interviews with a high-end tie fashion designer in the Campania region, we explore the creative design process, to better understand how designers create and maintain differentiation in high end products.
Originality through Imitation: The Rationality of Fashion
Fashion, apparently irrational and whimsical, presents on the contrary a non-random way of managing the limits of rationality in the relations between individuals. Fashion is an inherently paradoxical phenomenon, as was observed at the beginning of its diffusion in the 17th century, a time that discovered, like the recent theory of organization, the necessity and the strategic role of disorder. Fashion relies on the stability of transition (everything changes, and this is the only thing we can rely on) and on the conformity with deviance (everyone wants to be original, and in this desire is like everyone else). Fashion works combining these paradoxes and neutralizing them in the form of banality. What can the theory of organization learn from the trivial mystery of fashion, that prevails on everyone just because nobody takes it seriously?
Standard vs . Upcycled Fashion Design and Production.docx
Value streams for collected post-consumer textiles continue to be analyzed within the global challenge to develop and employ commercially viable, yet ethical and sustainable strategies within the fashion industry. Upcycling is an existing strategy applicable to fashion production, with discarded materials used to design and create higher value products, keeping them in productive use for longer. A number of very small, niche upcycling enterprises have emerged in the UK. These brands have succeeded in creating stylistically relevant and commercially successful fashion styles utilizing waste textile materials. The advantages of scaling these enterprises up are not only environmental, but also economic and social, thereby creating a sustainable and innovative business model for UK-led fashion production. Due to high levels of three key metrics of carbon, water and waste, UK government agency WRAP (Waste & Resources Action Programme) has identified textile products as prior- ity materia...
This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion 'trickling down' to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand.